formly grand and striking, and his eccentricities, if so they must be called, demand, and indeed extort, like to those of the "Divinity" whose works he is considering, at once our admiration and respect. In a word, nothing appears labored in him: the master-hand is discoverable in almost all not but that we occasionally suspect him to have produced by a sort of impatient, yet happy dash of the pencil, that foam which is exhibited on his canvas, and which has been mistaken for the work of art.

It is not a little painful to observe on the disinge nuousness of petty critics, who would deny to such a man as Warburton the claim of literary abilities. I will maintain, however, that those abilities were really firstrate, whether he be considered as a religionist and a philosopher (characters which, unhappily, are not always found together) a polemic, or a writer of notes: which latter employment, indeed, has been looked on contemptuously by those who, charmed by the "whistling of a name," had supposed that the scoff of the Twickenham bard was necessarily founded in truth. But at the fantastic and gibing expression alluded to ("the dull duty of an editor") Johnson has very properly manifested his indignation, and in the following words: "This was a work" (the publication of Shakspeare's plays) which Pope seems to have thought unworthy of his abilities, being not able to suppress his contempt of the dull duty of an editor. He understood but half his undertaking. The duty of a collator is indeed dull, yet, like other tedious tasks, it is very necessary: but an emendatory critic would ill discharge his duty, without qualities very different from dulness. In perusing a corrupted piece, he must have before him all possibilities of meaning, with all possibilities of expression. Such must be his comprehension of thought, and such

his copiousness of language. Out of many readings possible, he must be able to select that which best suits with the taste, opinions, and mode of language prevailing in every age, and with his author's particular cast of thought and turn of expression. Such must be his knowledge, and such his taste. Conjectural criticism demands more than humanity possesses, and he that exercises it with most praise, has very frequent need of indulgence. Let us now be told no more of the dull duty of an editor."

This is all very just; though certainly not consistent with the under-cited passage:

"I could have written longer notes, for the art of writing notes is not of difficult attainment. The work is performed, first by railing at the stupidity, negligence, ignorance, and asinine tastelessness of former editors," &c.

Thus we find in one page that the business of a commentator is far from easy; and in another that nothing can be more so, since he has only to rail at the "asinine tastelessness" of the editors who have preceded him. But this concluding assertion, and which I have before. remarked on, is peevishly made. The "art of writing notes," is attained in a very different manner indeed! In a word, it may be said of Johnson, as I have had occasion to remark of Warburton, that the latter end of his commonwealth forgets the beginning; or that he would prove the truth of his propositions by something like the reductio ad absurdum of

the schools.

It is for the honor of the nation to stand forward in the cause of Shakspeare. "O Menander and Nature! which of you copied your pieces from the other's works?" Such is the memorable question of Aristo

phanes the grammarian. How well then may the same be asked of our immortal bard!

With respect to the emendations now proposed, (which yet have cost me no little time and attention) I shall leave them, as already hinted, to the decision of the candid and the good and only observe in conclusion, and with Tully, though on a different subject-Ut potero, explicabo: nec tamen ut PYTHIUS APOLLO, certa ut sint et fixa quæ dixero; sed ut homullus probabilia conjectura sequens. In other words-I shall hope by unceasing industry, and a nice attention to the harmony of parts, to have exhibited the Poet with his native grace.

A. BECKET.

Thus much in submission to the critically just. To the morally just, I have yet to make appeal in a narrative of the transactions of my life, and in which the wrongs, the very many wrongs, that have been done me, both in my literary and commercial capacity, will be particularly shown. I may be told, perhaps, that to such kind of appeals the world will remain indifferent. Of the people collectively taken the assertion is, no doubt, founded individually it is not the case. Beside, the injuries in question are held out by me as beacons for unworldly men: the "higher order," as Johnson emphatically terms them, and with truth.

When, therefore, the aforesaid narrative shall pass from the press, I am to hope that the hand of Virtue will be stretched forth for me: not, however, to bring vengeance on the head of my enemies, I would only find protection for myself. Mr. Dallas, in his elegant speech on the trial of Governor Hastings, observed: "Her attitude,” (speaking of Justice) "is most lovely, not when she lifts up her arm to strike the oppressor, but when she stoops to raise the oppressed." A beautiful picture! and which the good and generous spirit must ever view with ineffable delight. Yet in speaking of protection let me be rightly understood. It is not pecuniary assistance that I am in search of; it is not for money that "I lay" but " for hearts."

Shakspeare.

Lately published by the Author of the present

Annotations.

1. LUCIANUS REDIVIVUS: Dialogues concerning MEN, MANNERS, and OPINIONS, (moral, critical, satirical, and gay,) and comprising a great variety of subjects: among which are the following:

On the Literary Character; Conduct of Princes; Satire; Drama; Criminal Law; Poetry; Fair Criticism; Coquetry; Misanthropy; Imitation; Machiavelism: Shakspeare's Editors; Powers of the Mind; War and Slavery; Hypocrisy and Deceit; Retirement; Establishment for the Poor; with Loans to necessitous and industrious Persons, &c. Octavo, 8s. 6d. in boards.

The BRITISH CRITIC (to whom the writer is wholly unknown,) has, with the candour and liberality which have so long distinguished him, pronounced of the performance, as follows:-" The writing, in the form of Dialogue, is confessedly difficult, and has not often been tried with success in our language. These Dialogues are on miscellaneous subjects, and generally indicative of knowledge of the world, and are also characterised with a great deal of humour. The colloquy between Garrick and Johnson is exceedingly good, which may be said of many of the others. The volume will very agreeably fill up an hour's interval of leisure, and, in particular, offers some good poetical criticism, in the Dialogue between Pope, Churchill, Mason, and Gray."

2. PUBLIC PROSPERITY; or Arguments in Support of a Plan for raising Six Millions Sterling, and for employing that Sum in Loans to necessitous and industrious Persons. Printed in Pamphleteer, No. 4.

The love of nature unconfin'd, and chief
Of human race, the large ambitious wish
To make them blest. THOMSON.

The Reviewers, after setting forth the heads of the project, observe,"That the benevolent author's plan, judiciously regulated, would increase public prosperity, seems highly probable; but the most faithful and inpartial conduct of the trustees would be necessary for carrying it into execution." This seeming difficulty, with respect to the trust, would be effectually removed, by naming to it no other than wealthy, unprejudiced, and, certainly, respectable men, subject nevertheless, and at all times,

to parliamentary inquiry and controul. Again, the Reviewers remark:"This plan, which reconciles in its composition the highest degree of benevolence, with general utility, was noticed in a former review. The Author has now re-printed it, for the purpose of more extensive communication, and continues to urge the adoption of it by many forcible arguments." Thus speak the journalists; but it may be proper, briefly, to make known the plan. It is proposed then, in the first instance, to establish a fund, and in perpetuity, for the relief of industrious traders, &c. who may have failed in their several callings. The sum to be advanced (and which must be determined by circumstances) from fifty to five hundred pounds each, returnable in the event of their after-success, and for the use of the public, as before. This scheme, it may be remarked, would not only give assistance to honest, though unfortunate, men, but release from very hard labour the many who now are subjected to it, in order to procure a scanty subsistence for themselves and families; while by taking them from such employ, and for which they are possibly wholly unfit, it would necessarily bring into useful action the idler and the sturdy vagabond, confessedly the pests of a state,reducing, by an equally obvious consequence, the poor-rates in a considerable sum.

3. THE GENII, (good and evil,) Attendants on the human Race: a Masque, 8vo. price 2s. 6d. in New British Theatre, No. 4.

Scit Genius natale comes qui temperat astrum,

Naturæ Deus humanæ, mortalis in unum

Quodque caput; vultu mutabilis, albus et ater. HOR. EPIST:

4. SOCRATES, a Dramatic Poem; written on the Model of the ancient Greek Tragedy. Second Edition, with (now first printed) an Apology for the Author and the Work, 8vo. 3s. 6d.

"O, Athens, renowned City, how much more fortunate art thou than wise!" EUPOLIS.

The mixed and irregular Verse (Apolilemenon,) so happily adopted, by Milton, in the lyrical parts of his tragedy, and here again attempted, is, unless the Hebrew Poetry be adverted to, almost peculiar to the Greeks; this peculiarity the ordinary Critic is unacquainted with, and, in the genuine spirit of ignorance, at such mode of composition, as well as at the Hellenistic expression, he will be ever inclined to sneer. That the present Drama must be "Caviare to the General" is easily told,but for them it has not been written: as to some lines which may be called Hecameters, the scene and subject will warrant their use.

5. THEODOSIUS TO CONSTANTIA; a Poetical Epistle, 4to. 1s. Written at the age of sixteen.

"The Epistle is animated, and flows in a strain of pathetic sentiments, not unlike the tender and passionate correspondence of Eloisa and Abelard." Critical Review.

"In this Epistle, which is supposed to be written by Theodosius, immediately after his having retired to a Convent, and where he first learnt the falsity of the report concerning the marriage of Constantia, we meet with many good verses," &c. Monthly Review.

W